OUGD603 - Guidebook - Developed Book Sleeve Idea

Based on initial ideas on the production design of the book, it was thought that the book could be encased in some form of book sleeve which could be used to represent the town as being surrounded by a green belt of land. In order to communicate this idea, a few variations were considered. The first (1) idea was to use a small sleeve which fits only around the waist of the book, like a belt would. The second (2) was to produce a sleeve which slips over the end of the book just enough to show the top of the book for easy access, revealing the title of the book.

CHOSEN IDEA:

However, it was decided to move forward with the third (3) idea, which covers the whole book in a case sleeve. This sleeve will be minimalistic in its design, using only colour and a small symbol. The cover will use a dark green colour in order to represent the green belt which surrounds the town (surrounds the book about the town), and the specific chosen shade will be used to complement the arts and crafts pattern featuring on cover of the book inside. Rather than using text on either of these, it has been decided to instead emboss or de-boss the three magnets symbol into the book sleeve, which will be used to convey the title of the book, 'The Three Magnets', as well as working with the layout of the contents and information inside the book.

Through the production of this book, this places it in the market as a non-conventional guidebook, and instead of being used only once to guide a potential trip, this should be kept as more of a keepsakes or souvenir book on the history of the town.

OUGD603 - Guidebook - Contents Ideas

Based on Ebenezer Howard's zoning system put in place during the development of the town which separates industrial areas from residential areas, one idea was to potentially place the contents into different 'zones' like chapters, using the categories found on the three magnets diagram: The people, Town, Country, and Town-Country.

However, will this idea work in the contents of the book effectively enough to create an appropriate flow of information? Since the town is known as Ebenezer's proposed 'town-country', this would also make it hard to split the contents into the other sections, since most information would fall into this category.

OR put the contents into these zones based on where they would fit as a place within the zones:

- Definition of a "Garden City" - Town-Country.

- Brief history of the town - Town-Country.

- Profile of Ebenezer Howard - People.

- History of the Arts and Crafts movement (and insert on small profiles of arts and crafts artists/designers) - People.

- The Settlement (The Skittles Inn) - Town.

- The Spirella building - Town.

- Cloisters - Town.

- Howgill's meeting house - Town (and People?)

- Mrs Howard memorial hall - Town.

- Howard park and gardens (and oak tree)? - Country.

- UK's first roundabout - Town.

- Broadway cinema - Town.

- Broadway (Kennedy) Gardens - Country.

- Norton Common Nature Reserve - Country.

OUGD603 - Guidebook - Image Experiments

One of my initial ideas was to combine photographic imagery with more illustrative imagery, overlaying to two in order to represent sketches for architectural structures, as well as presenting ideas of asymmetry (lack of symmetry), which Arts and Crafts design was found to feature. In beginning to experiment with this idea, the basic lines and structures of the buildings were outlined, in order to produce a fairly minimalistic line drawing which could be representative of a less detailed architectural sketch, which were then digitalised in Illustrator.

These newly digitalised illustrations were then appropriately scaled and overlayed onto the original image which they came from. Pieces of both the images and illustrations were then cut and manipulated to produce a half-and-half effect that can be seen as showing the development of these architectural structures. Cutting the images in different places, sizes and angles were also experimented with in this process.

Based on these, other variations were produced where the illustration and images weren't cut so straight. In these variations, the illustrations were allowed to be overlapped onto the original photographic image in order to create a less polished finished, and a more "rustic" appearance, which pioneer of the Arts and Crafts movement, William Morris, favoured.

Another variation experimented with overlaying the entire illustration over the entire photographic image, however if used in the book, this approach would take away some attention to the detail of the buildings and their architectural beauty and history in that its Arts and Crafts features would be hidden by the lines.

OUGD603 - Guidebook - Initial Ideas (Layout)

Some initial layout idea sketches were developed in order to visualise how text and image could be formatted throughout the book, using ideas based on research.

1. This first idea was based on visual research into arts and crafts typography, whereby a lot of typographic content seemed to be enclosed within borders and margins. This also looks at how the first letter of each paragraph of text could use a larger, ornamental design, with the rest of the text flowing around this.

2. Based on arts and crafts book design where negative space is an important feature, and text and image is kept to a certain formatted shape, using justified text to fill the shape.

3. This idea explores how architectural and structural features found in the arts and crafts movement could be utilised in the layout design of the book. For instance, stripes and planks of exposed wood are evident in a lot of arts and crafts architecture, including buildings. This style could potentially be used as an ornamental feature at the top of all or some pages.

4&5. These ideas explores overlaying text and image, creating an asymmetrical layout (a feature evident in arts and crafts architecture) that leaves a lot of negative space around the spread. This idea of negative space also allows representation of arts and crafts book design, whereby text would be formatted to a small shape near the centre of the book.

6. This idea explores how content and layouts could be split into threes in order to represent the 3 magnets idea which proposed the development of the town.

7&8. Ideas 7 and 8 look at adding ornamental features to the book as headers and footers, styles which would typically be seen around the edges of roofs in arts and crafts architecture, as well as type and book design features.

9. This idea is an additional idea for the cover and bind of the book. In order to keep a focus on the arts and crafts style, patterned fabric similar to the style of William Morris' work could be used, with a different complementary coloured fabric encasing the spine then overlapping onto the cover slightly. In the middle of this a small white shape could be cut featuring the title of the book, keeping text to a minimum. This design could potentially be screen-printed in order to show an aspect of traditional craftsmanship, found in the arts and crafts movement.

In addition, contents could be split into zones based on Ebenezer Howard's zoning system and the 3 magnets, splitting content into the sections 'town', 'country', 'town-country' and 'the people'.

OUGD603 - Guidebook - Initial Ideas

Initial ideas brainstorming for the design of the book explored how elements of the Arts and Crafts movement, as well as the construction history of the town could be utilised. One idea was to play on ideas of asymmetry. It was thought this could be shown either through the layout throughout the book, or through combining photographic imagery with illustrative elements, overlaying these slightly as if they are part of one image in order to represent architectural structures as well as play on these ideas of asymmetry. Continuing to play on elements of the Arts and Crafts movement, the book could (or should) also be hand-bound or include some element of traditional print into the design in order to communicate a sense of "traditional construction and craftsmanship".

Another idea for the layout of the book was to separate the book into different "zones" or sections, representative of Ebenezer Howard's zoning system for the town, whereby industrial areas would be kept separate from residential areas.

Initial ideas for the production design of the book itself look at how the cover and bind could be used to communicate something about the town. For instance, a few of these ideas explore how the idea of the town being surrounded by a "green belt" of land could be used as a way of holding the book together, which could be done through the use of green elastic, or green thread on an exposed bind like coptic stitch.

Another idea for this construction was to keep the book cover fairly minimalistic in itself through the use of pure image and pattern, excluding type, using an arts and crafts style piece of fabric for the cover allowing this movement to be appreciated and shown as part of the overarching history of the town's development. Over this would then be an additional sleeve, which contains the relevant typographic information to slot over the cover.

Additionally, the book could be closed shut through the use of three small magnets, representative of Ebenezer Howard's 3 magnets diagram for his proposal of the town.

OUGD603 - Guidebook - Visual Research and Ideas

OUGD603 - Guidebook - Arts and Crafts Typography

Frederic Goudy (1865 - 1947)
Goudy was an American printer and typographer who designed more than 100 typefaces that are considered outstanding for their lasting strength and beauty. His silent film "The Creation Of A Printing Type From The Design To Print" (1930's), documents his type-making process, from the original drawings in pencil and ink, through the engraving of the working pattern and the matrix, to the casting and proofing.

Goudy's career was influenced by the Arts and Crafts movement and the growth of fine book printing in the United States. At a time when printing types had become quite mechanical and geometric under the influence of Didone designs, such as Bodoni, Goudy spent his career developing old-style serifs often influenced by the printing of the Italian Renaissance and calligraphy, with a characteristic warmth and irregularity.

Typefaces include:

- Display Roman (1897).
- Engravers' Roman (1904).
- Copperplate (1905).
- Goudy Light Roman and Italic (1908).
- Kennerley (1911 series, Old Style, Italic, Bold, Bold Italic).
- Goudy Old Style (1915).
- Deepdene (1927).
- Remington Typewriter (1929).
- Californian (1938).
- Bulmer (1939).

Additional research into other Arts and Crafts typographic styles found the use of ornamental features, particularly for capital letters that feature at the start of the first word of the first paragraph of text. Such features were typically found to include more natural elements, such as flowers and leaves, that can be linked to William Morris' style of work. Other features include, traditional serifs, curved structures, underlines and dots.

OUGD603 - Guidebook - The Arts and Crafts Movement

"Arts and crafts was a design movement initiated by William Morris in 1861 which aimed to improve the quality of design and make it available to the widest possible audience".
"A style that urged for a return to craftsmanship and which rebelled against industrialisation".
(Start: 1860 - End: 1920).

A movement of the late 19th Century, which attempted to re-establish the skills of craftsmanship threatened by mass production and industrialisation. William Morris - the main protagonist - was inspired by writings of art critic John Ruskin, in particular, 'The Nature of Gothic' essay from the book 'The Stones and Venice'. Morris sought to put Ruskin's ideas into practice, by reviving medieval standards and methods of making artefacts, being true to materials, traditional constructional methods and function to the essence of design - Medieval past and architecture with its rich variety of ornament, embodying those individual craft skills being lost through the copying of standard forms.

Architecture was also reformed through traditional building crafts, the use of local materials, and be free of any imposed style. Function, need and simplicity (without spurious ornament) were to inform design, encapsulated in the work of Philip Webb, Richard Lethaby, and Charles Voysey.

What to look for in an arts and crafts building:
- Clarity of form and structure.
- Variety of materials.
- Asymmetry.
- Traditional construction.
- Craftsmanship.

The Arts and Crafts Movement:
An international movement in the decorative and fine arts that begun in Britain and flourished in Europe and North America between 1880 and 1920. It stood for traditional craftsmanship using simple forms, and often used medieval, romantic, or folk styles of decoration, and advocated economic and social reform and was essentially anti-industrial.

William Morris:
- In 1861, Morris began making furniture and decorative objects commercially, modelling is designs on medieval styles and using bold forms and strong colours. His patterns were based on flora and fauna and his products were inspire by the vernacular or domestic traditions of the British countryside. In order to display the beauty of the materials and the work of the craftsman, some were deliberately left unfinished, creating a rustic appearance. Truth to materials, structure and function became characteristics of the Arts and Crafts movement.
(weaving, dying, printing, calligraphy, embroidery).

"If you want a golden rule that will fit everything, this is it: Have nothing in your houses that you do not know to be useful or believe to be beautiful" - William Morris.

OUGD603 - Guidebook - Places of Interest

The Settlement (formerly known as The Skittles Inn):
- Letchworth Garden City held a ban on selling alcohol on public premises. In 1907, The Skittles Inn opened, known at the time as "the pub with no beer", which was said to offer fellowship, rest and recreation for workers until it became The Settlement in 1925. After a referendum, this ban was lifted in 1958, and the first public house opened known as The Broadway Hotel.
- The Skittles Inn combined the ideas of a continental cafe with that of an Old English inn. The bar sold cydrax (a non-alcoholic apple wine), Bournville's drinking chocolate, tea, and sarsparilla.
- The Inn was also home to a skittles alley, a billiards room, and a reading room.
- Now a Grade II listed building.

The Spirella Building:
- Also known as 'the factory of beauty', the Spirella company opened in 1920, holding one of the most prominent industries in the early years of the town in the manufacture of corsets. The company offered its employees facilities such as, baths, showers, gymnastics classes, a library, free eye tests and bicycle repairs.
- During WWII, the factory was also involved in producing parachutes and decoding machinery.
- Arts and crafts architecture.

The Cloisters:
- Originally built as a school for Arts, crafts and sciences in 1907, the school was dedicated to psychology, where students were taught skills from the Arts and Crafts Movement.
- The building is now a masonic meeting place (1950's).
- Grade II listed building.

Mrs Howard Memorial Hall:
- Built in memory of Ebenezer Howard's first wife who died in 1904, the hall became the first public building in the town, becoming a social hub with a focus on literary, musical and political life in the developing Garden City.
- Grade II listed building.

Howgill's Friends Meeting House:
- Built in 1907 as the meeting house for 'The Society of Friends' (Quakers), who initially purchased the land the town is now built on with the intention to farm the area.

UK's First Roundabout:
- The first 'gyratory traffic flow system' built circa 1909.

Broadway Cinema:
- Housed in a 1930's Art Deco building, opened in 1936.

OUGD603 - Crit Session (24/01)

Norwegian Wood:
- Think about how type and image will work together.
- Jar idea - think about using printmaking methods/ lino-print.
- Think about context, for example size, etc - keep it simple/ limit colours.

Guidebook:
- Look into and explore the user experience of a publication.
- Does not have to be a traditional guidebook/ what makes a guidebook? Could it be something the user has to follow?
- Waist band - how could this be used to hold the publication together? ("Green belt").
- Think about folds.

OUGD603 - Guidebook - History of Letchworth Garden City

"A Garden City is a town designed for industry and healthy living; of a size that makes possible for a full measure of social life, but not larger; surrounded by a permanent belt of rural land; the whole of the land being in public ownership or held in the trust for the community". 
- C.B. Purdom (1919).

Letchworth is the world's first garden city (situated in Hertfordshire, United Kingdom), created as a solution to the squalor and poverty of urban life in Britain in the late 19th Century. Founded in 1903 by social reformer, Ebenezer Howard, the town's development was based on his ideas published in his 1898 book entitled 'To-morrow: A Peaceful Path To Real Reform' in which he suggested that out of a marriage of town and country would spring "a new hope, a new life, a new civilisation". Summed up in his three magnets diagram, the town was described as combining the advantages of cities and the countryside while eliminating their disadvantages. Industry would be kept separate from residential areas (an idea called zoning), and trees and open spaces would prevail everywhere. Only one tree was felled during the entire initial construction phase of the town, and the term 'garden city' derived from an image of the city being situated within a belt of countryside, known as the 'green belt'.

Tourist Information Centre Leaflet: A Brief History of Letchworth Garden City
1903 - 2003.

The Three Magnets:

The three magnets diagram summarises the political, economic, and social contexts underlying Howard's utopian vision for the future of British settlement. One magnet lists the advantages and disadvantages of town life, and another is accompanied by the positives and negatives of country life. The third magnet communicates Howard's proposal of a town-country. In the centre features 'the people' as a response to the Victorian workers at the time torn between inner-city slum conditions and a lack of opportunities afforded by more rural settings.

OUGD603 - Guidebook - Initial Concept Ideas

SUBJECT MATTER:

City guidebook:
Letchworth Garden City (the world's first garden city).

Places of Interest (potential):

- The Spirella Building.
- Broadway Cinema.
- Cloisters.
- Howgill's Friends Meeting House.
- Public Library.
- Old town hall.
- Kennedy (Broadway) Gardens.
- Norton Common Nature Reserve.
- UK's first roundabout.
- Town sign.
- Mrs Howard Memorial Hall (and Oak Tree).
- Three Magnets Pub.
- Town centre and shopping.
- The Settlement (formerly The Skittle's Inn).
- Train Station.

Chapters and Topics (potential):

- History.
- Art, design and architecture (arts and crafts movements within the town).
- Nature (walks, trails and wildlife).
- TV and film (popular culture).
- Religion (spirituality and belief in the town).
- Industry.
- Town centre, food and shopping.

OUGD603 - Guidebook - Written Brief

OUGD603 - Penguin Student Design Award - Book Cover Analysis (2)

The current cover for the book 'Wonder' was designed by Tad Carpenter, guided by the instructions of author R J Palacio. The design features a minimalistic illustration of a person with a single eye which appears to be slightly disproportioned, paired with a handwritten font that curves across the top of the eye, representational of an eyebrow. In this design, the artist describes the illustration as relating directly to the theme of facial deformity found within the book, whilst the single eye relates to the book's narration from multiple perspectives. Alongside this minimalistic imagery, a simple colour scheme has also been used, one which is considered to be easy on the eye and allows the illustration to stand out from the background.

Another variation takes on a similar style however in addition to the disproportioned head with a single eye, this is surrounded by other, more proportioned faces, with two eyes. This is representative of the way in which the main character August feels, in that he feels as though he isn't an ordinary kid, because "ordinary kids don't make other ordinary kids run away screaming in playgrounds. Ordinary kids aren't stared at wherever they go", taking direct reference to a passage of text within the book and featured on the back cover, creating some consistency between image and text.

Since the release of the film 'Wonder' based on the children's book, an alternative cover design was produced in order to show the links between this and the film. This cover features a similar minimalistic colour scheme to the original, incorporating blues and whites, which can be seen as representational of August's dream of becoming an astronaut. The design incorporates image into text in a playful way, using the space helmet as the 'O' in the title.

Penguin's brief states that the cover design should ensure that the book remains important and a must-read for every child, as well as appealing to adults who may wants to buy it for themselves or their child. In this sense, the cover design should be appealing to a wide generation of readers and it could be considered the current designs do not effectively communicate this book towards this audience. Therefore my entry design should be unique, engaging and not focus on the obvious elements of the story.

OUGD603 - Penguin Student Design Award - Former Children's Cover Award Winners

Last year's children's prize was for the book 'Noughts and Crosses' by Malorie Blackman. This winning entry is very clever in its design, particularly through the use of combining image and text, whereby the textual information is made to be part of the character illustrations, which can be seen as directly showing how these characters make up the book. The back and front covers work well with each other, with the colours crossing over on the spine, adding an interesting element which would make the spine stand out on a bookshelf. Many of the judges comments on this design refer to the simplicity of the design, which helped the illustrations stand out.

2017's children's prize was for the book 'The Secret Diary of Adrian Mole (Aged 13 3/4)' by Sue Townsend. This design is more chaotic than the current winning design, however it continues to feature similar elements, such as the use of illustrated imagery and handwritten type. This shows the importance of strong typography in appealing to the judges, as well as the use of illustration for the children's covers, which can be seen as representative of a more playful nature that would keep younger readers more engaged and want to pick up the book.

2013's childrens prize was for the book 'The Wind In The Willows' by Kenneth Grahame. Like 2018's winning entry, this design features minimalistic illustrations which create a consistency between the front and back covers.

Upon analysis, it can be concluded that for the children's prize category that the judges favour more playful and illustrated designs, which aim for attracting the attention of young readers. This is also paired with a strong use of typography, an element which was found the judges look for in all categories. Generally, it seems the judges also favour simplistic designs that create more of an impact, however focus is on the importance on consistency amongst the full design.

OUGD603 - Penguin Student Design Award - Wonder Brief

OUGD603 - POGSEE Logo Design - Evaluation

Final feedback from the client in stating their final chosen logotype was all positive. One of these strengths was that the black shadowing works nicely to give the logotype a 3-dimensional element that helps it stand out on screen. Although two versions of the final logotype were produced, reversing this shadowing dependent on the colour background it would be used on, the client stated that overall they prefer the logotype with black shadowing on the white background which will be used generally as their main logotype. However, they also stated that the reversed design will also be considered in the future if the logotype needs to be used on a darker background, for instance on album art or other materials.

Another strength of the design the client thought worked well was the use of simple colour. Although contrasting, the colours do not compromise each other, enhanced by the shadowing, and the block colour means the design does not get too complicated.

It was also thought that the use of font worked effectively, favouring the cursive font which helps communicate the style of music POGSEE produces, whilst the way in which the design uses the top of the ‘SEE’ as an underline for the ‘pog’ was considered to create a signature look for the client. In addition, this structure allows the logotype to work effectively on all digital and social media platforms where POGSEE would promote his music, whether this square or circular format.

However, one potential weakness of the final logotype which may be considered by some is the way in which the ‘pog’ is placed further right than the start of the ‘SEE’ which could perhaps be seen as slightly disjointing. However, in initial digital design development of the logotype, a variation whereby the ‘pog’ was brought to the start of the design, attached to the start of the ‘S’ was also produced in order to bring the ‘pog’ to the front of the logotype which may have better helped with the reading of the name. These variations were also shown to the client, however, despite this, the client did not opt for this design. This decision is simply based on personal preference and so the final logotype still works effectively to convey what the client wants to communicate in terms of their brand.

OUGD603 - POGSEE Logo Design - Final Design In Use

Final logotype design in use on the client's Soundcloud, how it works on different digital platforms, such as web and mobile, as well as different formats, such as square and circle.

OUGD603 - POGSEE Logo Brief - Refinements

Before handing over the design to the client, some refinements were needed to be made. One thing which was noticed was that where the text overlaps this created a few small white gaps amongst the text which needed to be patched.

Once refined, this made the final design look a lot cleaner and as a result also helps the cursive letterforms of the 'pog' flow better into one another.

Although the client decided to choose the above design with black shadowing on a white background as the main one for general use, it was also decided to refine a design with white shadowing on a black background for potential use if the logotype were needed to be placed on a darker background that might not effectively support the black shadowing.

OUGD603 - POGSEE Logo Design - Client Feedback and Chosen Design (22/01)

(20/01) - Impressed with all the digital design developments, however, in general, prefers the black shadowing on the white background as opposed to the white on the black background.
- However, the client suggests this could be switched up dependent on the background when being used on other material like album art.

(22/01) - CHOSEN DESIGN:

- Likes the 'embossing' on the design, the client meaning in this sense the black shadowing behind the main text which helps the type to stand out rather than if used flat text, the simple colours and the font, which he thought looked quite 80's.
- Likes the way the design uses the top of the 'SEE' as an underline for the 'pog' to create what he feels is a signature look.

OUGD603 - Time Management Plan

OUGD603 - Updated Statement of Intent

About me as a designer and creative:

As a Graphic Designer, Illustrator, and all-round creative, I have keen interests in design for print and publication design, as well as more recently, branding. My approach is considered multi-disciplinary, experimental, and heavily research-led, meaning everything I do is carefully considered and aims to communicate the desired message as effectively as possible. As a creative I am not afraid of getting my hands dirty, enjoying hands-on approaches to design production, as well as digital which allows me to appropriately select the best solution to the task at hand.

Statement of Intent:

In terms of my creative practice my interests are varied, however, I am particularly interested in more hands-on approaches towards design production. This includes traditional printmaking techniques, such as the screen-printing process, and editorial and publication design, including bookbinding. However, not limiting myself to these set processes, I am also keen to continue developing my digital design skills, transferring hands-on methods into digital forms, such as with illustration and editorial design. Similarly, to this, I am also interested in design for print, including elements of branding through working with clients and on live briefs that will allow me to both build up my portfolio, as well as skills for the future.

In terms of going about exploring these topics discussed above, I intend to use a variety of research methodologies, such as reading books to continue to widen my knowledge of the world of design. Other forms of research would consist of internet research, and the analysis of examples of contemporary graphic design, looking at what is already out there, how this is done, and how I can make my own designs original and different from such existing design work. Experimentation is another technique which shall be used throughout my practice, creating and testing different variations of a piece of design through sketching and developments in design, layout and format.

OUGD603 - POGSEE Logo Brief - Digital Developments

Based on client feedback, it was found that some of the initial digital visualisations I had experimented with from sketches were in a similar style to the design which the client favoured the most. In response then, the colours were changed to the purple and black scheme the client suggested, which meant getting rid of the black shadow surrounding the 'see', since it was found this made the text too bold and almost illegible.

The positioning of the 'pog' and the 'see' was also played about with some more, placing each into a more 1:1 square ratio format.

More so based on client feedback, the design which the client could see the most as their logo looked at reversing the use of capitalisation, with a lowercase 'pog' and an uppercase 'see', with the client stating they really liked the font style of the 'pog', reminding them of 80's style. For these variations then, the exact same typefaces were used in a reverse order, experimenting with the black and purple colour scheme, as well as making the type look 3D vs. flat colour.

It was found through these variations that the black and purple colour scheme was challenging to work with since the flat colours looked too flat, and the use of the black 'see' limited the potential for a 3-Dimensional element. Therefore, a different colour scheme was experimented with, utilising the contrasting colours of purple and yellow, which I thought better helped each individual word stand out in their own right without one attracting more attention than the other, since the name is meant to be read as a whole.

On self-evaluation, it was thought that the use of reversed, mixed type in the designs above did not flow well together as whole, so the typeface of the 'see' was changed in the further developments below, whilst keeping the cursive 'pog' type which the client favoured. The chosen type features more square characteristics that creates a better contrast and structure between the two typefaces. Together, it was thought the use of these fonts created a more retro aesthetic, representational of video game and vaporwave aesthetics, which the client stated the logo should be loosely inspired by to also represent his genre of music.

The 3-Dimensional element was kept to give the design more depth, and variations were also developed showing how this design could potentially work on both light (white) and dark (black) backgrounds, substituting the black shadow for a white shadow on the darker backgrounds. One variation does this in the form of line, rather than solid colour, something which further highlights the design's inspiration from retro technology and vaporwave aesthetics in that it can be seen as representational of neon signage.

Again, placement was also looked at in these variations, aligning the descender of the 'p' which the 's' so that the two words connect/flow together more, as well as pushing the 'pog' to the front of the design so that it's more likely to be read first and communicates to the viewer how the logo should be read, whereas the design above may be said to look slightly disjointed in its positioning.

Fading the colour through opacity was also experimented with, based on the client's feedback which stated an attempt to flow colours into each other. This could help better show and represent layering in the process of both the production of this logo and the production of music from the client. This effect was also experimented with in attempting to see if this would enhance the retro feel of the logo.

A further set of variations looked at disregarding the 1:1 ratio and placing the words side-by-side as one whole name, which I felt did not limit the retro aesthetics in any way. However, potentially side-by-side the 'see' could be said to look too big in comparison to the 'pog'.

To make the size more consistent then, the placement and size of each word was manipulated.

OUGD603 - POGSEE Logo Design - Client Feedback (17/01)

- Likes top right design sketch - can definitely imagine it as his logo.
- Purple 'pog' and black 'see' OR at least have them different colours to stand out from each other.
- Mainly likes the font of the 'pog' - style looks really 80's.
- Could try to figure out a way of flowing the 'pog' into the 'see' - could be an interesting variation.
- Perhaps also try developing a design/variation with a circular background - and could try fading the colour on it.

OUGD603 - POGSEE Logo Design - Initial Digital Visualisation

In order to better communicate some of the ideas behind the rough sketches of mine, it was decided to start visualising a few digitally. Based on research into vaporwave aesthetics it was found that one common element is the use of line art and splitting images and text. It was decided to use this as a background for these initial visualisations, representing glitches and scan lines found in vintage technology, presenting a sense of nostalgia that vaporwave does.

The use of type also presents a style based on vaporwave aesthetics, characterised by a slanted angle, giving the logo a retro feel. Depth was also given to this text through the use of shadow, representing the night colour schemes and 3-Dimensional elements found in vaporwave.

Different colour schemes were also experimented with, some utilising the colour scheme present in POGSEE's current logo (orange, white and black), some layering the white lines over the text in an attempt to represent retro technology through the use of scan lines. Another variation gave the logo a glitched look, again to represent retro technology in a different way.

The variations below utilise both circle and square formats in order to accommodate the different formats found within social media formats, such as Instagram and Soundcloud. The use of yellow on purple was done to create a complete contrast of colour that allows the text to stand out amongst the almost slightly chaotic background, and keep this the centre of attention.

It was also decided to experiment with getting rid of the background since this was considered to be too much in the logo and would not work as effectively on some material, like EP and album cover art. The different variations were also looked at how they would work on light vs. dark backgrounds, particularly with the use of the shadow in these potential logo designs.

Based on the idea sketch that the logo could be split up into sound bars, it was decided to look at the general colour schemes of these found in visualisations for electronic music and then create a gradient based on these. It was thought that this idea would also allow for the development of moving image, raising the bars up and down as if fluctuating levels of sound which then settle down to form the logo.